복수영화와 젠더를 절합하기 - ‘모성 복수영화’와 ‘여성 액션 복수영화’를 중심으로 (Articulating Revenge Films and Gender - Focusing on ‘Maternal Revenge Films’ and ‘Female Action Revenge Films’)

서지정보

· 발행기관 : 대중서사학회
· 수록지 정보 : 대중서사연구 / 31권 / 1호 / 471 ~ 505페이지
· 저자명 : 주유신

초록

본 논문은 2000년대 이후 한국 복수영화의 등장 배경 그리고 흐름과 특징 등을 개괄한 후에, 이 중에서도 여성이 중심적 역할을 하는 복수 영화들을 ‘모성 복수영화’과 ‘여성 액션 복수영화’로 범주화하여 주체와 주제의 차이가 어떻게 형식적, 미학적 차이들을 만들어내고, 이것이 갖는 사회문화적, 젠더정치학적 의미를 살펴보고자 한다.
2000년대 이후 복수영화가 한국 영화의 주요 트렌드가 된 것은 사법 정의와 공공성의 붕괴 그리고 1997년의 IMF 사태가 끼친 사회경제적, 심리적 영향이다. 복수영화에서 한국 사회는 탐욕스러운 자본과 권력이 전횡하는 아수라장으로 형상화된다. 포스트IMF 시대에 대한 한국 영화의 재현은 ‘파국 서사’와 ‘외상적 상실의 전면화’를 특징으로 하는데, 특히 후자는 개인들이 자신을 가해한 대상에게 폭력적으로 복수하는 영화로 이어진다.
복수의 주체가 여성인 영화들도 점차 등장하는데, 특히 자식을 잃은 후에 점차 병리화되어가는 모성을 범죄와 연계시키는 모성 복수영화 중에서 <오로라 공주>와 <김복남 살인사건의 전말>은 여성의 동일시와 정체성 그리고 여성의 목소리나 동성애와 같은 주제들을 통해서 모성이라는 이슈를 흥미롭게 제기한다. ‘여성 액션’에 초점을 맞추는 <악녀>와 <발레리나>는 영화적 스타일의 적극적 활용을 통해서 리얼리티 자체보다는 그 표면과 감각성의 표현 그리고 인공적 이미지의 생산에 치중하는 ‘하이퍼리얼하고 포스트모던한 폭력의 이미지화’를 보여준다.
본 논문은 남성중심적 복수영화와 여성중심적 복수영화가 보여주는 조금은 다른 전개 과정과 특징 그리고 여성중심적 복수영화의 주체와 스타일의 변화를 전반적으로 시네페미니즘의 시각으로 살펴본다는 데에서 의미를 지닌다. 향후에 ‘복수영화는 새로운 패러다임의 사회적 윤리와 정의에 대한 요구로 나아갈 수 있는가’와 ‘복수영화 속의 저항 에너지는 한국 사회에 대한 어떤 성찰과 비전을 제시할 수 있는가’라는 질문에 대한 연구는 여전히 과제로 남겨져 있다.

영어초록

This paper outlines the background, flow, and characteristics of the Korean revenge films since the 2000s, and then categorizes revenge films in which women play a central role into ‘maternal revenge films’ and ‘female action revenge films’ to examine how differences in subject and theme create formal and aesthetic differences and what the socio-cultural and gender-political implications of this is.
The reason that revenge films have become a major trend in Korean films since the 2000s is the collapse of judicial justice and publicness, and the socio-economic and psychological impact of the IMF crisis in 1997. In revenge films, Korean society is depicted as a pandemonium where greedy capitalism and power dominate. The representation of the post-IMF era in Korean films is characterized by ‘catastrophic narratives’ and ‘aggravation of traumatic loss,’ the latter leading to films in which individuals take violent revenge on those who did injury to them.
Films in which the subject of revenge is a woman are gradually appearing. Among the maternal revenge films that link the pathologizing motherhood after losing a child to crime, <Princess Aurora> and <Bedeviled> interestingly raise the issue of motherhood through themes such as women’s identification and identity, women’s voices and homosexuality. <The Villainess> and <Ballerina>, which focus on ‘female action’, show a ‘hyperreal and postmodern visualization of violence’ that focuses on the expression of surface and sensibility and the production of artificial images rather than reality itself through active using of cinematic style.
This paper aims to examine the slightly different development process of male-centered and female-centered revenge films and the differences in themes, meanings, forms, and styles shown by female-centered revenge films from the perspective of cinefeminism. Research on the following questions remains as tasks: ‘Can revenge films move toward demands for social ethics and justice of a new paradigm? and ‘What kind of reflections and visions for Korean society can the resistance energy in revenge films present?’This paper outlines the background, flow, and characteristics of the Korean revenge films since the 2000s, and then categorizes revenge films in which women play a central role into ‘maternal revenge films’ and ‘female action revenge films’ to examine how differences in subject and theme create formal and aesthetic differences and what the socio-cultural and gender-political implications of this is.
The reason that revenge films have become a major trend in Korean films since the 2000s is the collapse of judicial justice and publicness, and the socio-economic and psychological impact of the IMF crisis in 1997. In revenge films, Korean society is depicted as a pandemonium where greedy capitalism and power dominate. The representation of the post-IMF era in Korean films is characterized by ‘catastrophic narratives’ and ‘aggravation of traumatic loss,’ the latter leading to films in which individuals take violent revenge on those who did injury to them.
Films in which the subject of revenge is a woman are gradually appearing. Among the maternal revenge films that link the pathologizing motherhood after losing a child to crime, <Princess Aurora> and <Bedeviled> interestingly raise the issue of motherhood through themes such as women’s identification and identity, women’s voices and homosexuality. <The Villainess> and <Ballerina>, which focus on ‘female action’, show a ‘hyperreal and postmodern visualization of violence’ that focuses on the expression of surface and sensibility and the production of artificial images rather than reality itself through active using of cinematic style.
This paper aims to examine the slightly different development process of male-centered and female-centered revenge films and the differences in themes, meanings, forms, and styles shown by female-centered revenge films from the perspective of cinefeminism. Research on the following questions remains as tasks: ‘Can revenge films move toward demands for social ethics and justice of a new paradigm? and ‘What kind of reflections and visions for Korean society can the resistance energy in revenge films present?’

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